The Fabric Find
Back in the spring, I had the chance to visit Elliott Berman Textiles and browse their stunning collection of Italian and French deadstock fabrics in person.
It’s always such a treat! This time, I was looking for solids only. I wanted some beautiful basics to complement all the printed garments I had already made. And then a stunning fabric stopped me right in my tracks. I lost all capacity for reason and logic! I simply couldn’t leave it behind.
So much for the solids!
Falling for the Print
This Italian floral cotton-linen fabric is absolutely breathtaking. I’m in love with the rich reds, moody blues, and touches of green, peach, and lavender against the white background. The subtle texture created by some of the thicker threads makes it even more special.
I decided on a sundress, thinking sleeves might be too much with such a dramatic print. After looking through countless patterns, I fell in love with the Studio Yusupova Elina dress, a clean, simple silhouette that lets the fabric take center stage.
We all know the “rule” for large prints: choose a pattern with as few seams as possible. Well, I decided to break that rule. I figured the print was busy enough that I might just get away with it!
Making It Work
I made a size 46 for my 92 cm bust and added 2 cm at the waist on the front and back side pieces. Making a toile first proved very worthwhile, as I discovered some serious gaping at the front and back necklines. I removed approximately 4.4 cm from the center front neckline, 2 cm from the center back, and 1 cm at the sides.
I had hoped to eliminate the center front seam to preserve the print, but the alteration meant I could no longer cut the piece on the fold. Instead, I positioned the two center-front pieces very close to the fold to create as much print continuity as possible. It isn’t a perfect match, but I think it works beautifully. I left the curved princess seams alone; matching such a large repeat there would have been impractical and fabric-intensive!
The Finished Dress
I love the silhouette, especially the low back, elasticated straps, and comfortable pockets in the front seams. The top is partially lined for a clean finish, while the skirt is unlined. Thankfully, the fabric isn’t transparent, and I added a few thread chains to keep the lining neatly in place.
I had the pleasure of wearing the finished sundress to a nice restaurant, where I felt beautiful.
And isn’t that what sewing for ourselves is all about?
Rimma’s original story has been lightly edited and condensed for length and readability while preserving her voice and experience.